Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Laos and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1972.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Doobie Brothers to the punk kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by AZ. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Star Department,
The Mummies,
Television Personalities,
Grey Daturas,
Notorious BIG live in Amsterdam,
The Wake,
The Five Americans,
Lungfish,
The Gap Band,
Lizzy Mercier Descloux,
Wighnomy Brothers & Robag Wruhme,
Thee Headcoats,
Matthew Bourne,
Terrestrial Tones,
Mary Jane Girls,
Scrapy,
The Stooges,
Cluster,
Robert Görl,
Sound Behaviour,
Magazine,
Tubeway Army,
The Fugs,
Andrew Ashong & Theo Parrish,
Godley & Creme,
Wolf Eyes,
Johnny Clarke,
London Community Gospel Choir,
Yazoo,
Howard Jones,
Peter & Gordon,
Graham Central Station,
Pantytec,
Kas Product,
Hoover,
Can,
Siouxsie and the Banshees,
the Sonics,
Circle Jerks,
Masters at Work,
DeepChord presents Echospace,
Morten Harket,
Max Romeo,
Oppenheimer Analysis,
Y Pants,
Ultimate Spinach,
Altered Images,
Aswad,
Roxette,
Stetsasonic,
The Modern Lovers,
K-Klass,
D'Angelo,
New Age Steppers,
The Chocolate Watch Band,
Judy Mowatt,
Qualms,
The Seeds,
Lyres,
The Slits, The Slits, The Slits, The Slits.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.